^rfS ^J BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON ^ will A^ liiifii &— H SEVENTY-THIRD SEASON i953" I 954 Sanders Theatre, Cambridge [3/arvard University] Boston Symphony Orchestra (Seventy-third Season, 1953-1954) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL VIOLINS Violas Bassoons Richard Burgin, Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Rrips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley Georges Fourel Contra-Bassoon Norbert Lauga George Humphrey Richard Plaster Vladimir Resnikofl Jerome Lipson Harry Dickson Louis Artieres Horns Gottfried Wilfinger Robert Rarol James Stagliano Einar Hansen Reuben Green Harry Shapiro Joseph Leibovici Bernard Radinofl Harold Meek Emil Kornsand Vincent Mauricd Paul Keaney Roger Shermont Walter Macdonald Carlos Pinfield Violoncellos Osbourne McCenathy Paul Fedorovsky Samuel Mayes Minot Beale Alfred Zighera Trumpets Herman Silberman Jacobus Langendoea Roger Voisin Stanley Benson Mischa Nieland Marcel Lafosse Leo Panasevich Karl Zeise Armando Ghitalia Goguen Sheldon Rotenberg Josef Zimbler Gerard Fredy Ostrovsky Bernard Parronchi Leon Marjollet Trombones Clarence Rnudson Jacob Raichman Pierre Mayer Martin Hoherman Louis Berger William Mover Manuel Zung Rauko Kabila Samuel Diamond Flutes Josef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakil Tuba Leon Gorodetzky Phillip Kaplan K. Vinal Smith Raphael Del Sordo Melvin Bryant Piccolo Harps George Madsen Lloyd Stonestreet Bernard Zighen Saverio Messina Oboes Olivia Luetcke William Waterhouie Ralph Gomberg William Marshall Jean Devergie Timpani Leonard Moss John Holmes Roman Szulc Charles Smith Basses English Horn Georges Moleux Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Harold Farberman Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo Eb Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't SandersTheatre, Cambridge [harvard University] SEVENTY-THIRD SEASON, 1953-1954 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Sixth Concert TUESDAY EVENING, April 20 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot '. President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [i] SEVENTY-FOURTH SEASON 1 9 J 4 — 19 5 5 Boston Symphony Orchestra CHARLES MUNCH, Music Director A Series of Six TUESDAY EVENING CONCERTS at 8:30 November 30 January 18 March 22 December 28 February 22 April 19 \S G. E. JUDD, Manager SYMPHONY HALL, BOSTON, MASS. Cambridge subscribers who may be interested in the Friday Afternoon, Saturday Evening, Sunday Afternoon, Tuesday Evening Series, or the Open Rehearsals in Boston are invited to inquire for particulars at the sub- scription office, Symphony Hall. [»i Sanders Theatre, Cambridge {^Harvard University^ Boston Symphony Orchestra SEVENTY-THIRD SEASON, 1953-1954 CHARLES MUNCH, Music Director SIXTH CONCERT TUESDAY EVENING, April 20 Program Mozart Symphony in D major, "Paris" K. 297 I. Allegro assai II. Andantino III. Allegro Piston Fantasy for Solo English Horn and Harp, with Strings English Horn: Louis Speyer Harp: Bernard Zighera Berlioz Excerpts from "The Damnation of Faust," Op. 24 I. Minuet of the Will-o'-the-Wisps II. Ballet of the Sylphs III. Hungarian March (Rakoczy) INTERMISSION Schubert Symphony in C major, No. 7 I. Andante; Allegro ma non troppo II. Andante con moto III. Scherzo IV. Finale The Friday and Saturday concerts are broadcast each week from Station WGBH (FM). BALDWIN PIANO RCA VICTOR RECORDS [3] . ;: FULL BERKSHIRE FESTIVAL Double your PROGRAMS At TANGLEWOOD record listening LENOX, MASS. The programs for the enlarged Berk- pleasure. shire Festival of July and August, 1954, have been announced. In the course of the Shed concerts, Charles Munch will honor the 150th anniversary season of the birth of Berlioz by conducting this composer's principal works in their com- plete form. Guest conductors in the Shed concerts will be Pierre Monteux, conducting two concerts; Jean Morel, and Richard Burgin, each conducting one. Mr. Munch will open the Shed series on Saturday, July 10, with Berlioz's Damnation of Faust, with the Harvard Glee Club and Radcliffe Choral Society. On Sunday afternoon, July 11, Pierre Monteux will present a Beethoven pro- gram including the Overture to Leonore Model 3HES5 No. 3, the Piano Concerto No. 5 ("Em- $139.95 with the new peror") with Claudio Arrau as soloist, and the Fifth Symphony. RCAVICTOR 2nd week (Shed, July 17, 18) : Satur- day eve. (Pierre Monteux) — Franck HIGH FIDELITY program: Le Chasseur Maudit, Les Eolides, Les Djinns (piano soloist, Vera "Victrola"Phonograph Franceschi), Symphony in D minor; Sunday aft. (Charles Munch) — De- and RCA Victor bussy, Iberia; Copland, Piano Concerto High Fidelity Records (soloist, Leo Smit) ; Berlioz, Fantastic Symphony. New High Fidelity "Victrola" phono- 3rd week (Shed, July 24, 25) : Satur- graphs bring out the hidden "highs" day eve. (Jean Morel) Weber, Over- and "lows" not reproduced by con- — ture, Der Freischiitz ; Prokofieff, Sixth ventional phonographs. Recorded mu- Symphony; Strauss, Don Juan; Elgar, sic comes alive with the realism, the "Enigma" Variations. Sunday afternoon "presence" of an actual performance. (Charles Munch) — Berlioz, Beatrice In addition, RCA Victor brings you and Benedict Overture and Harold in the world's largest and finest selection Italy (viola soloist, William Primrose) of High Fidelity records. Be sure to ask Ernst Toch, Symphony No. 2. your dealer for the latest RCA Victor 4th week (Shed, July 31, Aug. 1) High Fidelity Record Catalog. Saturday eve. (Charles Munch) — Ber- Suggested Eastern list price, subject to change lioz, Romeo and Juliet with Festival Chorus and soloists; Sunday aft. (Rich- rci\\ictor ard Burgin) — Prokofieff, Chout, Dvorak, mks.® RADIO CORPORATION OF AMERICA (Continued on page 9) [-4] SYMPHONY IN D MAJOR ("PARIS"), NO. 31 (K. 297) By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 Composed in Paris in 1778, this symphony had its first performance at a Concert Spirituel under the direction of Jean Le Gros on June 18 of that year. The first performance of the symphony at the concerts of the Boston Symphony Orchestra was October 28, 1887, under the direction of Wilhelm Gericke. Arthur Nikisch performed it April 28, 1893; Emil Paur, November 8, 1895; Wilhelm Gericke, January 13, 1898, and Serge Koussevitzky, October 26, 1945. The score calls for the following instruments in pairs: flutes, oboes, clarinets, bassoons, horns, trumpets, together with timpani and strings. Mozart, aged twenty-two, arrived with his mother in Paris on March 23, 1778, and stayed there until September 26. The Mozart family had built great hopes on the success of Wolfgang in the French capital. What he wanted (and was never to succeed in hav- ing) was a permanent remunerative post, preferably that of Kapell- meister, which provincial Salzburg had not offered him. Nor were the available musicians at Salzburg inspiring to compose for. "For the last five or six years," wrote Mozart to a Salzburg friend, with a Parisian performance perhaps ringing in his memory, "the Salzburg orchestra has always been rich in what is useless and superfluous, but very poor in what is necessary, and absolutely destitute of what is indispensable." At Mannheim, whence he had just come and which possessed the finest orchestra in Europe, Mozart had probably first awakened to the full possibilities of the symphonic medium. "The discipline that rules this orchestra!" he had written to his father. "They behave themselves quite differently, have good manners, are well dressed, and don't soak themselves in taverns." The young man realized clearly enough that the broad road to suc- cess in Paris was not the symphonic road but the opera. The Gluck- Piccini controversy still held everyone's attention, although Gluck had triumphed by that time. Mozart was not interested in taking sides: he was as careful to preserve beauty of melody as the dramatic verities, and instinctively he would have sacrificed neither. He was ready to adapt his style to the French language and the French taste, but he never obtained in Paris more than half a promise of a French libretto, nor any definite prospect of a performance. Mozart arrived in Paris with very little money, after nine and a half days of tedious travelling from Mannheim. His mother, who was with him, wrote home: "During the last two days we were choked by the wind and drowned by the rain, so that we both got soaking wet in the carriage and could scarcely breathe." And so they arrived in a strange city, where Mozart, making calls and lacking cab fare, picked [5] his way over paving stones slippery with early spring mud. Mozart's mother was a care and a burden, for she merely sat alone in their dark lodgings day after day and complained of increasing ailments. On July 3 she succumbed to a disease as unidentifiable as many were in those